""The Apryl Fool was a very accomplished late-60s band from Japan whose lone, self-titled 1969 album is a great mixture of hard psych and blues-rock. Their best-known track is probably The Lost Mother Land, Pt. 1, which was featured on the Japanese volume of QDKs Love, Peace And Poetry series, certainly one of the most crazed, over-the-top productions and performances in the entire series, with its massively phased and treated vocals and general menace. But that tune is really the anomaly on the album, despite the prevalence of monstrous fuzz guitar on a number of tracks. At their heart, The Apryl Fool seem to be a blues-rock band, although one that was clearly experimenting with the burgeoning psychedelic scene. Tracks like Another Time, Honky Tonk Jam, and Bob Dylans Pledging My Time are pretty straight blues-rock, and April Blues just adds some fuzz guitar to a boogie-woogie piano bit. The other tracks up the psych quotient considerably, like on Tomorrows Child, with its Farfisa and wicked fuzz leads, or the aforementioned The Lost Mother Land Pt. 1. There are additional crazy tape effects on The Lost Mother Land Pt. 2. About half the tunes are in English and half in Japanese, but its all good stuff. Historical footnote: years later, bass player Haruomi Hosono would become a member of one of Japans most popular music groups ever, Yellow Magic Orchestra." --Sean Westergaard, All Music Guide; Housed in a highly collectable limited edition LP replica card wallet. Includes 4 bonus tracks (The Floral singles)." -Bamboo.

"Japans Blues Creation was formed by guitarists Kazuo Takeda, Koh Eiryu and singer Fumio Nunoya, in early 1969, after the dissolution of their Group Sounds outfit The Bickies. Highly influenced by Cream and The Yardbirds, Takeda joined forces with school friends Takayuki Noji, Shinichi Tashiro, and lead singer Fumio Nunoya. Formerly vocalist with Taboo, a heavy band led by future Happy End guitarist Eiichi Otaki, Nunoya was also searching for an even heavier sound, and the results of the new American-influenced experiment were released in October 1969, as Blues Creation. Singer Fumio Nunoya soon found himself edged out of artistic decisions by the supremely confident Takeda, and thereafter left to form his own band, Dew. While searching around throughout 1970 for a new singer, guitarist Takeda heard the new, even more strung-out music of Led Zeppelin, Black Sabbath, Eric Claptons solo LP Clapton, and Leslie Wests Mountain, and decided he should take the opportunity to start again from scratch. Takeda enlisted bassist Masashi Saeki and drummer Akiyoshi Higuchi for the new line-up, and eschewed the previous style in favor of his own compositions. With the new Blues Creation fronted by singer Hiromi Osawa, Kazuo Takeda recorded what has come to be regarded as his masterpiece in the form of Demon & Eleven Children, originally released in 1971 on Denon. This album was recorded at the Japan Folk Jamboree, and is a full-on gem of a record, but Takeda was now widely-known as a true Japanese guitar hero, and -- as ever -- had set his sights higher and higher. He split Blues Creation the following year, leaving for London in late 1972. This sludge-y slab of big, loud, brain-busting heaviness sits at #17 on Julian Copes Japrocksampler top 50 list. Includes original LP insert and lyric sheet." -Bamboo

"First released on Vertigo in April 1972, this is the first LP by Miki Curtis (Samurai front man) following the break-up of the band. Its a fantastically otherworldly psychedelic LP and a totally different sound than Samurai. The First Ear finds Eastern-tinged psych of the highest echelon! Strange harmony vocals, a spacy guitar solo, queerly sawing synths, everythings efficient and even compelling! "Forty days on a stoned-out camel" moans Miki (yes, he knows some English, too) and that is just how this sounds. The track ends with half a minute of noisy slurping on what we presume to be a waterpipe. Mind-blowing. Digitally remastered and pressed on 180 gram vinyl. Comes with an English translation of the original Japanese LP insert." - Bamboo.

"Gatefold LP version on 180 gram vinyl. This is the final album from the band founded by George Yanagi, formed after the disbanding of Strawberry Path after only one astonishing album. Good Bye, originally released in 1972, brings together a live first side bursting with highly energetic, guitar-based loud rock. The studio side is a more sophisticated and progressive affair, with the complex and instrumentally-inspired "521 Seconds Schizophrenic Symphony" being of a particularly high standard. An album sure to appeal fans of 70s hard rock with marked progressive tendencies. Features killer Hammond organs and drums from Hiro Tsunoda (Foodbrain, Yasumi No Kuni)." -Bamboo.

"Keyboardist and former member of the Far East Family Band, Akira Ito embarked on a solo career making what has been described as "floating electronics," using a medley of analog synths, guitar, bass, drums, and choral vocals. He released Japanesque in 1981; an album considered to be illusionary mind music at its finest and rarest. Its a gorgeous, mellow, floating, cosmic album, perhaps like a more organic Kitaro. Ito lends his sonic signature sounds of cosmic rock to full effect on Japanesque, reminding us why the Far East Family Band were considered to be the foremost innovators of early electronica. Digitally-remastered and presented on 180 gram vinyl for the first time." -Bamboo.

“This just might be the single greatest side of OTT psych/noise guitar oblivion ever put to disc from the most legendary Japanese underground group of all time, Les Rallizes Denudes: the mysteriously-named France Demo Tapes have previously only circulated on wildly dubious CD-R burns, often with contradictory and conflicting track listings/material but the session (whether it was actually recorded in France or not) is consistently dated as being from some time in the late 80s. This gloriously out-of-nowhere release finally delivers on the hype surrounding this much whispered-about session, two massively deformed versions of their classics "Night Of The Assassins" and "The Last One". You have heard nothing" like this and when Mizutani is on this kind of form its hard to believe that any other rock music exists outside of this singular, blasted universe. If you buy one electric guitar album this lifetime…” - Bamboo.

"Bamboo presents the first vinyl release of France Demo Tapes. This just might be the single greatest side of OTT psych/noise guitar oblivion ever put to disc from the most legendary Japanese underground group of all time, Les Rallizes Denudes: the mysteriously-named France Demo Tapes have previously only circulated on wildly dubious CD-R burns, often with contradictory and conflicting track listings/material but the session (whether it was actually recorded in France or not) is consistently dated as being from some time in the late 80s. This gloriously out-of-nowhere release finally delivers on the hype surrounding this much whispered-about session, two massively deformed versions of their classics "Night Of The Assassins" and "The Last One". You have heard nothing" like this and when Mizutani is on this kind of form its hard to believe that any other rock music exists outside of this singular, blasted universe. If you buy one electric guitar album this lifetime... 180 gram, colored vinyl. Includes detailed liner notes. Edition of 1000." - Bamboo.

"Various live tracks assembled circa 1973-1987. As news of the new rock music made it to Japan from the UK and the USA, mostly via rock magazines and music papers, with most LPs tough to find even on import, something was lost in translation that allowed it to mutate well beyond its original remit. Les Rallizes Dénudés took rock music at its word while visioning it as both unnecessarily complicated and too stupid by far. In doing so they formulated an inspirational blueprint that would go on to have a marked effect on everything that came after them in Japanese underground music. Its a music thats as loose as it is uptight, as sophisticated as it is punk-primitive, as radical as it is simplistic. As the old ESP-Disk banner used to promise, truly, you never heard such sounds. Digitally remastered. Includes an 8-page booklet in English and Japanese." - Bamboo.

"The epitome of a cult artist (and a favorite of Julian Cope), the enigmatic Magical Power Mako (aka Makoto Kurita) has been sporadically releasing albums in his native Japan since 1974. This lavish numbered, limited edition 5CD set collects jams taped by him between 1972 and 1975, and comes complete with a full 12-page booklet. Encompassing psychedelic folk, Krautrock, electronica and fuzz guitar, the musics effect is frequently astounding, and absolutely essential for all fans of Japrock." -Bamboo

"The groups name is literally the icons for a "circle", "triangle" and "Square", with "Maru Sankaku Shikaku" substituting as a translation for those images. Circle Triangle Square were a painted bunch of commune rockers and percussion tribe second to none, whose random bells, flute and remedial tea-tray flailings were still more like the Godz or Nihilist Spasm Band than the deep theta-space obliterations of Taj Mahal Travellers. Led by future Murahatchibu drummer Sahuro "Kant" Watanabe, CTS were part of an elite bunch Shinjuku Futen bands who actually made it onto record. Includes full-color booklet with notes by Watanabe." -Bamboo.

"180 gram vinyl reissue of this ultra-rare 70s Japanese rock album. Kimio Mizutani was the guitarist in the excellent Japanese freak-out group, Love Live Life + 1 and this reissue is of his first solo album from 1971. Mizutani plays electric and "folk" guitar and leads a largish ensemble (bass, drums, organ, Moog and vocals) through what is widely-regarded as one of the true psychedelic masterpieces of the 70s Japanese scene. Sensitive interludes (accompanied by the Toyama String Quartet and the Etoh Wood Quartet), tasteful nods to progressive/fusionist extension and a lovely, hovering psych guitar from Mizutani dominate proceedings. A nice merger of hard rock conceptualization and the complexities that would evolve from it -- and, until now, almost impossible to hear within the confines of western society." -Bamboo

“Bamboo present a reissue of the debut album by Annette Peacock & Paul Bley, Dual Unity, originally released in 1972. Annette Peacocks legacy may only just be courting recognition proper with the recent retrospective release of her solo debut Im The One (1972). Hailed as a pioneer and artistic genius by many, her debut album and predecessor to Im The One captures Peacock in her element alongside husband; Canadian jazz genius Paul Bley. Dual Unity is a landscape of aural vision captured on tape in 1970 during their first European tour. For 33 minutes and 21 seconds, the listener is absorbed by other spirits. Using Robert Moogs earliest synthesizers, Bley and Peacock apply the strategic use of silence to indicate its reflective nature with captivating results. Originally released in 1971, it is a statement of immensity through synthetic minimalism and a milestone in the avant-garde, free jazz movement. Personnel (in addition to Peacock and Bley performing on all tracks): Han Bennink - drums on "M.J." and "Gargantuan Encounter"; Mario Pavone - bass and Laurence Cook - drums on "Richter Scale" and "Dual Unity". Professionally re-mastered original sound recording with expansive liners, interviews and rare archival photos.” - Bamboo.

2014 repress. "Although Ike Reiko was a mere 17 years of age when she recorded 1971s Kokotsu No Sekai, she was already a star in the world of Japanese erotic movies. Despite the tough-gal image, the music is pretty darn life-affirming, so dont think for a second youre getting an easy listening album here -- this is about as sexual as music can get. Throw "French Kiss" out of the window and give a kiss goodbye to your Serge Gainsbourg records, Ike Reiko is more sizzling than a branding iron as it makes its mark on the farmers herd. The sex is literally dripping from every note on this record -- the style is "Iroke Kayôkyoku" or erotic kayôkyoku (kayôkyoku being a style of Japanese pop) but the sort of naïve jazz and pseudo spy theme movie music is all draped in a shroud of sexual shouts, screams and coos from the clearly excited Reiko. One must assume that she was in some kind of state of euphoria in the recording studio from the evidence on offer here, either that or shes a pretty realistic faker -- its a smouldering collision, and thats about all that needs to be said. Kokotsu No Sekai has to be one of the finest gifts for the music fan in search of that killer oddity. First 180 gram vinyl reissue." -Bamboo.

"Truly a Japanese psychedelic female acid-folk masterpiece. Released on July 25th, 1976, Mikkô was Sai Yoshikos second album, a wonderful acid-folk album on which she gets assisted by a string of big name musicians such as Kuni Kawauchi (of the Happenings Four, amongst others) to arrange the songs. Mikkô features Sais original songs, making it her first real complete album. At times the disc draws in Middle Eastern influences (sitar and tabla), but once she gets to singing, the listener is lulled into her own private, mysterious sonic world, through which one gets sucked in by her wide-ranging vocalizations. At the time of this recording, Sai Yoshiko was merely 23 years-old. Totally obscure, much in-demand by Japanese psych heads, and rather hard to track down. One of Sai Yoshikos biggest fans is Jojo Hiroshige from Hijokaidan and Alchemy Records, who eventually, 25 years after she recorded this stunning album, dove in the studio with her for the Crimson Voyage CD on which she merely attributed some sighs and moans. This album is really a stunner and a must for people into some more advanced Japanese underground historical recordings. Digitally remastered and available on 180 gram vinyl for the first time. Comes with an English translation of the original Japanese LP insert." - Bamboo.

"Takehisa Kosugi was a hippie who become an avant-garde composer. Born in Tokyo in 1938, he graduated in 1962 at the Tokyo University of Arts, and then founded the Japanese equivalent of the Fluxus movement, called Group Ongaku, a group devoted to improvisation and multi-media performances. In 1969 he formed the Taj Mahal Travellers, a psychedelic rock group that played lengthy improvised jams that can be summarized in three principles: a far Eastern approach to music as a living organism, an intense electronic processing of instruments and voices, and a semi-mathematical overlapping of frequencies. Basically: La Monte Young on acid. Kosugi mainly played violin. He was on the road with this group between 1971 and 1972, traveling in a Volkswagen minibus from Holland to the Taj Mahal itself. Two albums were made out of that experience: one of them this release, July 15, 1972. This is the first 180 gram vinyl release. Includes an English translation of the original Japanese LP insert. Digitally remastered." - Bamboo.

"Takehisa Kosugi was a hippie who become an avant-garde composer. Born in Tokyo in 1938, he graduated in 1962 at the Tokyo University of Arts, and then founded the Japanese equivalent of the Fluxus movement, called Group Ongaku, a group devoted to improvisation and multi-media performances. In 1969 he formed the Taj Mahal Travellers, a psychedelic rock group that played lengthy improvised jams that can be summarized in three principles: a far Eastern approach to music as a living organism, an intense electronic processing of instruments and voices, and a semi-mathematical overlapping of frequencies. Basically: La Monte Young on acid. Kosugi mainly played violin. He was on the road with this group between 1971 and 1972, traveling in a Volkswagen minibus from Holland to the Taj Mahal itself. Two albums were made out of that experience: one of them this release, July 15, 1972. Unavailable on CD for a considerable time, this important album now enjoys a timely reissue on Bamboo. Includes an English translation of the original Japanese LP insert. Digitally remastered." -Bamboo.

"Under the influence of The Beatles, the Group Sounds movement swept Japan in the mid-1960s. This compilation -- out of print for well over 20 years -- collects some of the finest cuts made by several of the leading bands of the time, and makes its long-awaited CD debut here, together with background notes. Includes artists such as The Golden Cups, The Beavers, The Mops, The Spiders, The Carnabeats, Dswooners, and The Jaguars." - Bamboo.

"Repressed, originally released for RSD 2016. 180-gram colored LP. Hand-numbered limited edition of 1000. Under the influence of The Beatles, the Group Sounds movement swept Japan in the mid-1960s. This esteemed compilation -- exceedingly difficult to find since its original release in 1990 -- gathers 11 of the wildest tracks in the genre, spanning surf rock, fuzzed-up R&B, and even psychedelia. Its sure to thrill fans of the further reaches of garage rock. Includes tracks by The Golden Cups, The Beavers, The Mops, The Spiders, The Carnabeats, DSwooners, and The Jaguars." - Bamboo.

"Bamboo presents Julian Copes top five Japanese rock albums assembled here in an essential 5CD Japrock set. Never before available as a box set. Comes with a 36-page illustrated booklet with extensive sleevenotes, rare photos, and band bios. This is not a sampler of music -- it includes the following full albums: Speed, Glue & Shinkis Eve (1971), Flower Travellin Bands Satori (1971), Les Rallizes Dénudés Heavier Than A Death In The Family (recorded mostly in 1977), Far East Family BandsParallel World (1976), and J A Caesars Kokkyou Junreika (1973)." -Bamboo.

RSD 2016 release. 180-gram clear LP. Limited edition of 1000. "Under the influence of The Beatles, the Group Sounds movement swept Japan in the mid-1960s. This esteemed compilation -- exceedingly difficult to find since its original release in 1990 -- gathers a dozen of the wildest tracks in the genre, spanning surf rock, fuzzed-up R&B, and even psychedelia. Its sure to thrill fans of the further reaches of garage rock. Includes tracks by The Beavers, The Carnabeats, The Spiders, The Voltage, The Mops, DSwooners, The Bunnys, The Golden Cups, and The Savage." - Bamboo.

RSD 2016 release. 180-gram colored LP. Hand-numbered limited edition of 1000. "Available on vinyl for the first time since its original 1987 release, this pioneering compilation gathers a dozen of the best bands in the Group Sounds movement that swept Japan in the 1960s. Featuring plenty of frantic songs with wild guitar and intense vocals, its proof that rock and roll was truly an international language, and includes early material by musicians who went on to perform with such legendary bands as Flower Travellin Band; Speed, Glue & Shinki; Les Rallizes Dénudés; and Food Brain. Includes tracks by The Golden Cups, The Dynamites, Outcast,The Carnabeats, The Tempters, The Beavers,The Bunnys, The Mops, The Spiders,DSwooners, Zoo Nee Voo, and Fingers." - Bamboo

"Under the influence of The Beatles, the Group Sounds movement swept Japan in the mid-1960s. This compilation -- out of print for well over 20 years -- collects some of the finest cuts made by several of the leading bands of the time, and makes its long-awaited CD debut here, together with background notes. Artists include: Outcast, The Spiders, The Mops, The Savage, The Jaguars, The Sharp Hawks, The Sharp Five, The Voltage, and The Golden Cups." - Bamboo.

"Repressed, originally released for RSD 2016. 180-gram colored LP. Hand-numbered limited edition of 1000. Under the influence of The Beatles, the Group Sounds movement swept Japan in the mid-1960s. This esteemed compilation -- exceedingly difficult to find since its original release in 1991 -- gathers 11 of the wildest tracks in the genre, spanning surf rock, fuzzed-up R&B, and even psychedelia. Its sure to thrill fans of the further reaches of garage rock. Includes tracks by Outcast, The Spiders, The Mops, The Savage, The Jaguars, The Sharp Hawks, The Sharp Five, The Voltage, and The Golden Cups." - Bamboo.